Thursday, 31 December 2015

I keep meaning to write the third part of my imaginary Fantastic Four series - Ride of the Stygionauts, but for some reason instead I came up with this, an entirely new super hero team which is like something from a childs sketch book.

I don't know why I imagined it or why I keep imagining it. Its strange. It doesn't really fit anywhere.

So.. Happy New Year?

----------FROST MASK-------

Frost Mask is the worlds greatest thief, expert in deceit and stealth, master of crime and criminal genius.

Every tear she cries freezes on her face, even if she cries when she is asleep without realising it. Because of this she has declared that she will never be sad, even in her dreams, and dedicated her life to crime and adventure.

She is in the Umbra-Louvre looking at the umbral art, surrounded by trillions in wealth and the worlds most bored and attractive people. The real stolen paintings glow like gems wrapped in bridal veils.

Frost Mask once stole an entire Paris weekend and made it her lair. It was the weekend after the declaration of victory in WWI. She took it because the people seemed so happy. For this reason, Paris has no communal memory of winning World War One and the authorities of that city work feverishly to capture her and get back their weekend.

So in a sense, Frost Masks arch-enemy is the Conseil de Paris, but really she has a lot of arch enemies. Sometimes Chi-Master is her arch-foe. Her greatest enemy is Ennui, both the emotion and her evil half-sister who has that name.

(Some economists estimate that Frost Mask has stolen perhaps 1% of all human wealth throughout history and a sub-branch of economics is dedicated to making sure she is never caught because the injection of that much money into the world economy could result in disastrous inflation and global collapse.)

-----------CHI MASTER---------

Chi Master is an intelligent and wise golden gorilla. He is a master of all forms of Kung Fu and Guardian of all the Chi Force on earth.

The More life Chi Master is fighting to protect, the more powerful he becomes. If the whole world is threatened he becomes as powerful as Superman, able to lift mountains, shrug of missile attacks and kick ships out of the sea.

But if no lives are threatened then he has only the powers of a normal gorilla who is also a kung-fu master.

This makes it hard for him to catch Frost Mask when she is his arch-enemy because her thefts and crimes rarely endanger human life. Frost Mask takes from the rich and the dull and keeps it.

Chi Master lives in a really big tree which comes out of the ocean somewhere near Jakarta. The tree is so huge that an entire island is caught in its branches.

There are ancient pagodas on the island, and many mysteries hidden in the branches of the tree.

The tree occupies a Chi-Nexus on earth, that's why it is so big. It is a chi tree.

---------ARMY MAN-----------

Army Man is a man who has all the powers of anyone in any army. If anyone in an army can do something then he can do it too.

He is the best at fighting, driving, flying planes, swimming and blowing things up. he is really brave and never gives up. His gun turns into a tank. His backpack turns into a glider. His arch-foes are the brown army-men (he is green.)

--------SELENIUM PRINCESS------

Selenium Princess explores all the constellations of space from her crystal pirate base on the moons shadow line (visible as a burning bead of light on the moons edge during an eclipse.)

she is at war with the Ziggurat Moon, which is another moon the earth had long ago and which sometimes returns.

Everyone on earth is afraid of her but they don't realise that without her they would have been enslaved by the Ziggurat Moon ages ago.

The Crystal Base of Selenium Princess is full of alien rogues. Sometimes criminals escape from earth and go there, sometimes bad guys from the moon visit earth. She runs a laissez faire regime and the governments of earth do not like it but there is not much they can do about it.

------MONSTER PRINCESS----------

Monster Princess is still a little girl. She is a small cyclops in a pink princess dress with a crown and sceptre and a box with all the monsters in it, in the form of toys, that she carries under her arm.

When she takes a monster out and says its name it becomes real.

She can pull out any monster; Vampire, Yeti, Godzilla-monster, all of them.

When she makes them real they have to obey her becasue she is the Princess but some of them can be troublesome.

The mother of Monster Princess is the Monster Queen. She is really big and lives under the sea. Sometimes she threatens the earth.

-----------DOCTOR ELEMENTAL----------

Doctor Elemental is actually four real-life doctors (they have phd's in various things, not all medical) who are each experts in different kinds of elemental sorcery. (One is bad).

When danger threatens the earth they combine into Doctor Elemental who can command pure elements at will. (He can separate them but not combine them). His (or her sometimes, depending on who is currently part of Doctor Elemental) is Blue, White, Green and Red.

The doctors get upset with each other and have medical drama's. They are kind of their own arch-enemy sometimes.

If one doctor dies then the other three have to go on a quest to see who will replace them. The replacement is always a doctor of some kind.

This way 'Doctor Elemental' goes on, even though the individual doctors die.

---------------------------------

When danger threatens the world, the Best Heroes all team up and fight it.

Sometimes they don't all want to team up. Chi-Master can usually convince Frost Mask to join in if it looks sufficiently dangerous and interesting and if she joins in most of the rest will as well.

Saturday, 26 December 2015

A tiresome, overeducated and inherently worthless man wrote a stupid article about Star Wars.

That doesn't really matter and there is little to say about it but in thinking about how wrong he was I though this and it interested me;

I have to explain about Willrow Hood.

In the cloud city sequence from the Empire Strikes Back,
Lando Calrissian takes a second out of his busy day to inform the residents of
Bespin that the empire is taking control of the city, everything is fucked and
that if they are not into fascism they should probably leave. This is
symbolised on film by a number of extras running back and forth in corridors.

One of these extras is a slightly-portly, utterly-average
looking black guy with a moustache (Lando made them fashionable) and a (I think
its teal?) jumpsuit.

To illustrate that he is doing something emergency-related
and that he is living in a technological science-fictional future-past, this gentleman
is carrying a smooth, white, circular, technological object somewhere in a
hurry. Surely, we think, if we take even in instant to observe him, this
low-level functionary of a vast metropolis must be engaged on some seemingly
prosaic yet possibly-vital mission. A man in work gear, carrying something
technical, running in an emergency, must be doing something important. We know
that if an alarm goes off and we see a middle aged gentleman in overalls
running past carrying a piece of unknown machinery that that particular tool or
item has some quotidian yet subtle purpose vital to the full working of our
highly-complex society, especially so in times of danger.

Therefore, if we see this man, and if an alarm is going off,
we recognise his purpose and get the fuck out of the way.

So someone, maybe a second AD, saw an extra running and said
"hey, maybe you could carry something? Do we have any technical crap left
over from the Hoth set? No, not that, its too low-fi and crunchy. Bespin is
kind of white and sleek, do we have anything like that?"

And some noble props person or grip comes forth and says
"Hey, How about this?"

"Perfect" says the AD, "just grab this and
run buddy, remember, don't look at the camera or the main cast".

And that's why Willrow Hood is running through Bespin
carrying what we now know to be an ice cream maker.

But he wasn't Willrow Hood yet. That took time. Time and
nerds.

A collectable card game give him his name and, his employer
and the hint of rebellion contacts.

A fan site goes into more detail. The Ice Cream maker is now
a computer data core that Hood is rushing to dump before the imperials arrive.

Wilrow Hood is an ordinary man who
ends up in a game of wits with Tian Chyler, an agent of the Galactic Empire. The
ice cream maker ('memory core') is full of rebellion contacts and Hood is
dumping it before the bad guys take over. After the invasion of Bespin he is
interrogated, tortured, refuses to give up anything and is eventually let go. He ultimately manages to turn the disenfranchised Chyler to the rebellion and
provides information vital to the re-taking of Bespin. Then he retires to 'take
it easy'.

Tian Chyler is a woman who appears for a brief fragment of
'Empire' in a Bespin reaction shot. She doesn't exist in the original film, she
was added when Lucas produced his strange new versions drenched in CGI.

So these two utterly unremarkable extras exist in the same
film, but were photographed for it about twenty years apart.

Prompted by the utterly ridiculous nature of the ice cream
maker (the grit around which the pearl of story is formed) each little fragment
of the Wilrow Hood mythos came from different people working on different
products, some were fans, some were employees. The fans and employees passed
the basic idea back and forth between each other over 20 years and slowly the
story accreted.

And it's a wonderful story becasue its about the low-key
heroism of an ordinary man in a universe of dramatic heroes and becasue its
fucking ridiculous and becasue no other story anywhere or anywhen could be put
together like this.

And the people who made him were small, ordinary people.
Hood is an average guy in a world of heroes and the people who created him were
card-game writers and fans and encyclopedia writers in a world of Lucases and
Kadans. He is like them. They are like him, and they made him mainly out of
ridiculous joy.

Now an annual event takes place at a con where a bunch of nerds put on fake moustaches and teal jumpsuits, pick up ice cream makers they got specially, and lap the convention hall at a steady jog to the applause of the assembled dorks in re-creation of Hoods heroic act.

There are so many ways to be outside a thing. The article that prompted this response to is the worst way you can ever be outside something.
Intellect without penetration. The pretence of pleasure without real joy.
Superior in every thought. Snide. Inwardly dead. Experiencing something and
feeling the pull of the experience yet neither pushing back or letting go, but
flensing the emotion as it is felt.

People who honestly hate Star Wars are more worthy of
respect. At least hate is a core emotion. At least its real and deeply felt and
if you hate something you honestly acknowledge its power.

(The Puritans and the Sybarites have one thing in common.
They truly recognise and respect the transcendent power of beauty, and of the
imagination. The Puritans react in fear and the Sybarites in adoration but they are both morally centred in what they feel and think.)

But Wilrow Hood is the other way to be outside something, or
the other way to hold something in your mind, recognise its ridiculousness, its
frailty, its fundamental silliness and yet not to forget that even silly, frail,
clearly made-up, even carrying an ice-cream maker, the dream has power.

Willrow Hood is a silly idea. Willrow Hood is the heroism of
the common man in dangerous circumstances. Wilrow Hood is a palimpsest
character, a more radical construction than anything Burroughs could have
imagined. A character imagined over twenty years! a character whose main
relationship is with a mortal foe, separated in time, whom the original could
never have met. A character and story made from card games and internet fans and
encyclopedias of imaginary worlds.

And every fucking character in every shot of a star wars
film has their own backstory and life story and name and personality and reason
for being there. And this was all put there by nerds becasue they like making things.
There is a part of that that is sad but it is much more good and joyous and
ridiculous and life-imbuing. Its a good thing that people did that.

The Star Wars expanded Universe with all its byzantine
accretions of complexity, its derangement and clarifications, its inspiration
and mediocrity, its coagulations of inventiveness and low-level aspergers, its
silliness and certainty, its cutaways and chronologies, and in all its deep,
deep love and attention, is fundamentally superior to anything its critics can
say about it. It is a popular cathedral. People made that.

Saturday, 12 December 2015

There are many gods in the Uncertain World but only two creators. Conceivers and sustainers of reality, those who hold the world together with their thoughts, imbue it with existence and maintain its position in the shadowy multiverse. Without these two, nothing is.

HER

Call the first 'Zoophoria' or 'Tetrautera', but you may as well call Her Lady Day, Lady Mania, Wait-What-Who, The Mother, Queen Genesis, Queen Wideawake, The Dancer, Mistress Murder, Light, Luck, Chaos, Chance or just 'Life'.

She rules light, life, wakefulness and day. (And those really weird dreams that wake you up.) She governs dance, violence and sex. It has been claimed by her prophets that 'she is the only reason anyone around here is getting laid' and she is praised accordingly for this.

She made the form of all living things and is the mother of all monsters. She parties with the sun all night and then kicks it out of her house at dawn, thereby returning light and life to the world.

'Let her not party too long' say her worshippers.

She governs birth, growth, the decay of bodies and the transformation of dead things into new life. So long as there is still flesh on the bones the body belongs to her.

Her home is the forests, the rivers, the sea, anywhere things are living or growing or transforming. She flows endlessly between them, never ceasing in one place for long.

She has outright told her prophets "I'm really not sure what's going on" and is notorious for forgetting things.

Her seasons are Spring and Summer.

Her angels appear as wild-riding amazons and multi-armed omni-gendered eternal-dancers.

Her demons are hairy howling barbarians, biological horrors and a fey Wild Hunt.

HIM

If you want a common name, call Him 'Conchodeus', but like Her, He has a thousand other names; The Carapaced Man, He Who Waits, Imperator Rasa, The Silent One, The Carapaced King, The Tired Man, Fate, Night, Sleep, or just 'Death'.

http://sliplead.tumblr.com/

He rules death, sleep, darkness, words and dreams. He governs history, poetry, the Moon, the stars, silence, shadows the wastes and all distant places.

After Zoophoria created the form of living things, Conchodeus decided on their nature.

The Dead are his to watch over and the undead, or active-dead are said to be the dark dream or nightmare of the Carapaced King. All fleshless undead are somehow connected to him.

He watches all bones as they moulder and becomes upset if living scavengers disturb them.

His seasons are Autumn and Winter.

His home is the waste beyond the waste, the desert outside time. The Dark side of the Moon.

He claims to know all things.

His angels come in the form of knights, insects and weird fetish nuns.

His devils are insects of ice, doomed decayed automata and men of business

Her Temples

Her temples and churches can be found anywhere and everywhere, from the centres of great slums, to treehouse-temples in the hearts of forests, sprawling stone cities and nomadic boat-city cathedrals. They can be eons old or days old.

The visitor can never be sure if there will actually be anyone at home. The transgendered priests of Zoophoria and their various tribes, clans, pilgrims, cliques and hangers-on can up and move in the space of a day. All that is required is for someone reasonably charismatic to claim they had a vision and a temple-culture the size of a small town can be packed up and on the road in a couple of hours. Many of the gigantic temple complexes stand empty and overrun by monkeys for hundreds, or thousands of years, only to be suddenly re-filled overnight as a nomadic congregation comes back on a whim.

Zoophoria ensures that when not in use, her temples and cities are not re-purposed by any business or conquest-minded culture. As soon as people leave, wild animals, monsters and crazed crones creep in. Poisonous flowers, thorny vines and hallucinogenic fungi erupt from the earth and cover the stones.

No profitable business, hierarchal organisation or highly-organised martial culture can meaningfully take root in these areas, they are eaten by tigers, mobbed by baboons, cursed by crones, poisoned by toxic blooms and driven mad by multicoloured spores. Neither is it generally safe for single men to go there.

However, fleeing women and homeless children will often be completely safe, the predators and monkey tribes will overlook them, the spores and poisons will not affect them.

Monkeys are not sacred to the Lady of Day, no more than all life is, but she thinks they are cool.

As her priests welcome all into Her temples, Zoophoria welcomes all into Her realm. Galzebrub, the great prophet, reports in one of the few commonly accepted direct communications from Her;

"Sure, come over, bring anyone."

The greatest danger for visitors is that she will forget they are there, or why they are there and either leave them wandering for ever or possibly try to fight them, either out of confusion or just for fun.

Zoophoria embodies direct, physical body-oriented violence in all its forms. She is life but she is also murder, predation and consumption.

His Temples

His temples are always hard to find and far away. They are placed on barren islands in shadowy and storm-wracked seas, carved into blue-veined glaciers, on isolated mountain peaks, hung upside-down in deep, deep caves and built as lightning-blasted towers in black featureless plains. Some are lighthouses. Some are lighthouses bordering oceans that no longer exist, that have evaporated or drained away, or that will exist one day after the land is drowned.

It makes no difference to Him, His thoughts pass through deep time and the things he builds are ultra-permanent. Many are so real that they exist in the same place on multiple planes. Some are so real that they are the only still or predictable points in dreams, like pins in flowing fabric, and that it is impossible to dream of the places where they are without also dreaming of the Temple a it is, down to the exact detail.

Wherever they are, you have to go a long way to reach them, and He'd rather you didn't try. Unlike Her, He does not welcome travellers into His realm or into His presence. if you do find your way there you better have a very good excuse.

Within, His temples are always gloomy, quiet and still. If it isn't night outside then it seems like it is. Vast libraries extend into the shadowy distance lit by lamps burning with pale or azure flame. Within them, all knowledge is recorded in some form. The records of dead empires fill the crypts. Silver domes hold lenses and telescopes to read the messages in the night sky. Complex orreries and astral charts are kept.

When his temples are near river or seas, the patterns on the water are carefully observed and analysed. Flow dynamics are sacred to him, waves, ripples, whirlpools, swells and storms of every kind are considered to be his messages. The wrinkling of the sea under moonlight is said to be his script.

One of the few sounds is the clicking of the orreries as they move, or that of the smooth kinetic sculptures of unknown purpose that shift in the slow winds. The floors are all mosaics, some abstract,some metaphorical, some pure encoded information in binary form. There are great cemeteries and catacombs.

The priests of Conchodeus are robed, shapeless, apparently genderless, masked with insect features, organised into complex hierarchies maintained by secret signs and codes. They loom silently and communicate in whispers. Gardens full of pale night-flowering blooms have snails of every kind, ranging from the near-microscopic to the gigantic house-sized mega-snail. Tortoises, Trilobites and all other kinds of shelled creature are present, they are one of the few kinds of living thing sacred to Him more than Her.

His temples are guarded by calm blue-armoured knights, by gigantic insects and by tense fetish nuns. Should they be threatened then they will be further defended by the wrathful and wakened dead.

Her Hell

The hell of Zoophoria is a hive of flesh or a city made from organs and tubes like the inside of in infinite beast. There biological terrors and the Wild Hunt torture and pursue rapists, sex criminals and child abusers.

There is no formal structure, no organisation and no way out. The only hope for the damned is that Zoophoria forgets they are there for a while.

His Hell

The Hell of Conchodeus is organised and hierarchic. Circles of ice and glass in inverted counter-rotating skyscrapers like an abyssal panopticon. There he specialises in the punishment of liars, traitors and corrupt officials, politicians and police officers.

All damned souls are afforded a fair trial. Witnesses to their crimes will be called from the dead, should they still live they will be called in dreams and should you dream that you have been called as witness in a trial it is very dangerous to resist, if you do the angels of Conchodeus may come for you and snatch you away to a witness stand in hell.

Cross examinations are permitted and the damned are afforded the best possible defence.

No-one has ever been found innocent.

Sentences consist of specific formal punishments with set terms and conditions for reincarnation or release. If the damned serve out their time and are allowed to reincarnate it will be under exact terms and conditions. There are certain things they must and must not do, depending on their crimes. Although the soul will be unable to remember this, they will be reminded in dreams and whispered to by snails and insects in the world. Should they break the terms of their release they will be snatched back immediately to hell.

For this reason, almost everyone in the Uncertain World fears the advice of insects, tortoises or snails.

Wednesday, 9 December 2015

Don't worry I'm done now. Here's everything gothic and weird from Masefield. There's not much because he's a sunny motherfucker, but what there is, is good.

Dauber

A wall of nothing at the world's last edge,
Where no life came except defeated life.
The Dauber felt shut in within a hedge,
Behind which form was hidden and thought was rife,
And then a blinding flash, a thrust, a knife
Would sweep the hedge away and make all plain,
Brilliant beyond words, blinding the brain.

So the night past, but then no morning broke-
Only a something showed that night was dead.
A sea-bird, cackling like a devil, spoke,
And the fog drew away and hung like lead.
Like mighty cliffs it shaped, sullen and red;
Like glowering gods at watch it did appear
And sometimes drew away , and then drew near.

Like islands, and like chasms, and like hell,
But always mighty and red, gloomy and ruddy,
Shutting the visible sea in like a well;
Slow heaving in vast ripples, blank and muddy,
Where the sun should have risen it streaked bloody.
The day was still-born; all the sea-fowl scattering
Splashed the still water, mewing, hovering, clattering.

The Polar snow came down little and light,
Till all the sky was hidden by the small,
Most multudinous drift of dirty white
Tumbling and wavering down and covering all-
Covering the sky, the sea, the clipper tall,
Furring the ropes with white, casting the mast,
Coming on no known air, but blowing past.

And all the air seemed full of gradual moan,
As though in those cloud-chasms the horns were blowing
The mort for gods cast out and overthown,
Or for the eyeless sun plucked out and going.
Slow the low gradual moan came in the snowing;
The Dauber felt the prelude had begun.
The snowstorm fluttered by; he saw the sun

Show and pass by, gleam from one towering prison
Into another, vaster and more grim,
Which in dull crags of darkness had arisen
To muffle-to a final door on him.
the gods upon the dull crags lowered dim,
The pigeons chattered, quarreling in the track.
In the south-west the dimness dulled to black.

Then came the cry of "Call all hands on deck!"
The Dauber knew its meaning; it was come:
Cape Horn, that tramples beauty into wreck,
nd crumples steel and smites the strong man dumb.
Down clattered flying kites and staysails: some
Sang out in quick, high calls; the fairleads skirled,
And from the south-west came the end of the world.

Land Workers

Under the earth those heroes are;
Those Englishmen, slow, stubborn, kind,
Farm-labourers, time out of mind,
Who, with odd gurgles, growls and clicks,
Stacked the lain Summer into ricks
Who tamed the great beasts' strength, and beat
Earth's red rebellious clay to meat.
Each full of fancies, dark and odd
From when the devil has been god,
Knowing the rite, with seed of muck,
Without which 'Twoulden have no luck':
Knowing how fatal 'twas to plough
Ere Earth and Heaven has said 'Now';
And how the blood of bird or mouse
Would bring the crop or guard the house;
And how, unless you turned the penny,
The new moon rode you with her meyny.

...

The young men, with their swords, would dance
Our pagan blood's inheritance,
Or, strangely dressed, with helms and swords,
And uncouth, half-forgotten words,
(And bladders upon sticks to beat
Spectators back) in market street
Would act that age-old play of Corn
Cut down by Death and then reborn.
And other touching graces stayed
From times ere pageant had decayed.

Midnight

Men are burning the gorse on the don's shoulder;
A drift of smoke
Glitters with fire and hags, and the skies smoulder,
And the lungs choke.

Once the tribe did thus on the downs, on these downs, burning
Men in the frame,
Crying to the gods of the downs till their brains were turning
And the gods came.

And today on the downs, in the wind, the hawks, the grasses,
In blood and air,
Something passes me and cries as it passes,
On the chalk downland bare.

Ryemeadows

Terrible tales, that made the blood run cold,
But not the worst, for these, they said, obeyed
The righteous heart and did what they were told,
Or could, by parish priest, be truly laid.
What scared me worse were stories of a Nation
Seldseen, unholy, vexing human lives,
Stealing men's children, or new-married wives.

'They were revengeful,' people said, 'unkind...'
Dreadful to people if their wills were checked -
With spies abroad to tell what men maligned,
And all maligners had their projects wrecked:
Wakened at night with screams of execration,
Pelted from markets or their cows made dry,
Or the year's cheeses such as none would buy.

These were the Fairy people who had danced
Those browner rings upon the scanty grazing,
Where Jane, our cook, had seen them as it chanced
Dancing in reels to pipings most amazing,
All bright with jewels in some celebration
For their great Queen, whose face Jane could not see;
She said, 'I looked into eternity.'

She said, 'It was vouchsafed: a something given,
I know they are, but not in life like ours;
If human life is hell, theirs is not the Heaven;
Men may have mind, the fairies other powers.
They have no sin, no sorrow, no salvation,
We have the two and struggle for the third.
Leave them in quiet...not another word.'

...

Ah, then indeed, I knew that the Night teemed
With evil powers many as a Nation,
More, and more awful that we mortals dreamed,
A loveless and inhuman generation
That from a midnight kingdom somehow streamed
Out from a nowhere never seen nor mapped
To hurry human beings to damnation.

Sonnets

So in the empty sky the stars appear,
Are bright in heaven marching through the sky,
Spinning their planets, each one to his year,
Tossing their fiery hair until they die;
Then in the tower afar the watcher sees
The sun, that burned, less noble than it was,
Less noble still, until by dim degrees,
No spark of him is specklike in his glass.
Then blind and dark in heaven the sun proceeds,
Vast, dead and hideous, knocking on his moons,
Till crashing on his like creation breeds,
Striking such like a constellations swoons.
From dead things striking fire a new sun springs,
New fire, new life, new planets with new wings.

.....

They called that broken hedge The Haunted Gate.
Strange fires (they said) burnt there at moonless times.
Evil was there, men never went there late,
The darkness there was quick with threatened crimes.
And then one digging in the bloodies clay
Found, but a foot below, a rotted chest.
Coins of the Romans, tray on rusted tray,
Hurriedly heaped there by a digger prest.
So that one knew how, centuries before,
Some Roman flying from the sack by night,
Digging in terror there to hide his store,
Sweating his pick, by windy lantern light,
had stamped his anguish on that place's soul,
So that it knew and could reherse the whole.

.....

There was an evil in the nodding wood
Above the quarry long since overgrown,
Something which stamped it as a place of blood
Where tortured spirit cried from murdered bone.
Then, after years, I saw a rusty knife
Stuck in a woman's skull, just as 'twas found,
Blackt with a centuried crust of clotted life,
In the red clay of that unholy ground.
So that I knew the unhappy thing had spoken,
That tongueless thing for whom the quarry spoke,
The evil seals of murder had been broken
By the red earth, the grass, the rooted oak,
The inarticulate dead had forced the spade,
the hand, the mind, till murder was displayed.

Tuesday, 8 December 2015

The first half of 'Reynard' is made up of verse-pictures of the entire fox-hunting party and they are really good. It's also one of the few times you'll ever here Masefield actually talk about women. turns out he can do it pretty well, so, I suppose, well done John?

There are too many to relate but here's my preferred adventuring party assembled from that poem.

The parson and his sporting wife,
She was a stout one, full of life
With red, quick, kindly, manly face.
She held the knave, queen, king and ace,
In every hand she played with men.
She was no sister to the hen,
But fierce and minded to be queen,
She wore a coat and skirt of green,
A waistcoat cut of hunting red,
Her tie pin was a fox's head.

........

Jane looked like a dark lantern, burning.
Outwardly dark, unkempt, uncouth,
But minded like the living truth,
A friend that nothing shook nor wearied.
She was not 'Darling Jane'd', nor 'dearied'd',
She was all prickles to the touch,
So sharp that many feared to clutch,
So keen, that many thought her bitter.
She let the little sparrows twitter.
She had a hard ungracious way.
Her storm of hair was iron-grey.,
And she was passionate in her heart
For women's souls that burn apart,
Just as her mother's had, with Squire.
She gave a sense of smouldering fire.
She was not happy being a maid,
At home, with Squire, but she stayed
Enduring life, however bleak,
To guard her sisters who were weak,
And force a life for them from Squire.
And she had roused and stood his fire
A hundred times, and earned his hate,
To win those two a better state.

........

Steer Harpit came from Rowell Hill,
A small, frail man, all heart and will**,
A sailor as his voice betrayed.
He let his whip-thong droop and played
At snicking off the grass blades with it.

........

Then on a horse which bit and bucked
(the half-broke four-year old Marauder)
Came Minton-Price of th' Afghan border
Lean, puckered, yellowed, knotted, scarred,
Tough as hide-rope twisted hard,
Tense tiger-sinew knit to bone.
Strange-wayed from having lived alone
With Kafir, Afghan and Beloosh
In stations frozen in the Koosh
Where nothing but the bullet sings.
His mind had conquered many things
Painting, mechanics, physics, law,
White-hot, hand-beaten things to draw
Self-hammered from his own soul's stithy,
His speech was blacksmith-sparked and pithy.
Danger has been his brother bred;
The stones had often been his bed
In bickers with the border-thieves.

Monday, 7 December 2015

This is from 'Reynard the Fox' or 'The Ghost Heath Run' by John Masefield. Its the story of a foxhunt with a large part of it told from the perspective of the fox.

On Cold Crendons windy tops
grows wintrily Blown Hilcote Copse,
Wind-bitten beech with badger barrows
Where broks eat wasp-grubs with their marrows,
And foxes lie on short-grassed turf,
Nose between paws, to hear the surf
of wind in the beeches drowsily.
There was our fox bred lustily
Three years before, and there he berthed
Under the beech-roots snugly earthed,
With a roof of flint and a floor of chalk
And ten bitten hens' heads each on its stalk,
Some rabbits' paws, some fur from scuts,
A badger's corpse and a smell of guts.
And there on the night before my tale
He trotted out for a point in the vale.
He saw, from the cover edge, the valley
Go trooping down with its droops of sally
To the brimming river's lipping bend,
And a light at the inn at Water's End.
He heard the owl go hunting by
And the shriek of the mouse the owl made die,
And the purr of the owl as he tore the red
Strings from between his claws and fed;
The smack of joy of the horny lips
Marbled green with the blobby strips.
He saw the farms where the dogs were barking,
Cold Crendon Court and Copsecote Larking;
The fault with the spring as bright as gleed,
Green-slash-laced with the water weed.
A glare in the sky still marked the town,
Though all folk slept and the blinds were down,
The street lamps watched the empty square,
The night-cat sang his evil there.

Saturday, 5 December 2015

Perse for its colour though the water is clear, reflecting the grey-blue sky beneath whose arch it runs.

Out beyond the Melanic the river has another name, the Kaldr. Called for the place of its birth, the Kaldr Hjarta Mountains, or Mountains of the Cold Heart. And the Mountains of the Cold Heart are called so for the cold-hearted sinners of Dryhthelm, whose walls are watched by insectile devils of ice, for the Kaldr Hjarta mountains are an outpost of Hell upon this uncertain world.

But before Hell, the river.

It runs cold all the way to the moors, with a temperature a little cooler than the air. Mist bands and bored whirlpools mark its margins where the waters meet.

The Perse is neither haunted by unlikely mists, like the Virid, or tortured by lightning and memories like the Or. Fat with life, it throngs with fish of many kinds. Mega-krill feed on the fish and small sperm whales no bigger than a big boy feed on the krill. The small sperm whales are hunted in their turn by man for their marvellous oils, by the Orca that predate in deadly packs, feared by all and by the Wreaca, the exiles, no fate more feared.

The bare, crone-haunted islands of the Perse are covered in freshwater penguins packed in shadowy ranks calling like whippoorwills in the voices of abandoned friends.

There are greater dangers still, for the Stone Men (who have sworn never to work metal, though this does not prevent some of them from using metal, including guns) drive their black bark canoes through the river and its tributaries on missions of vengeance, honour, trade, exploration or simply adventure. Tribal politics shift continually and it is impossible for the traveller to predict how encountered tribes will act.

The Fell Metal tribes from the scree sides of the deep dark lakes that feed into the Perse rarely come forth from their hearth halls on the mountain tops, but when they do they ride in shallow-draft long boats, swift and dangerous, with figureheads of galloping horses that seem to tread down the oncoming waves and trample them into flecks of white.

Only a mile beyond the melanic are the walled wooden townships of the distaff families of Jukai. Technically, legally, colonies and nascent outposts of that city state. In effect travel through the Melanic is never predictable or guaranteed and these fortress-markets effectively rule themselves.

The largest, right on the border of the river and the moors, is Vedet, built of black wood with brass minarets and docks jutting into the flow, packed with the canoes of the stone men, longboats of the fell metal tribes, rafts of the swamp drunks, official Jukai exploration craft and the numerous boats of fishermen, pirates, criminals, explorers and unaffiliated adventurers. Here in Vedet all coagulate and mix, with just enough law to keep the anarchy profitable, and just enough gunpowder and iron to beat back the Wreaca from the forest, wild stone tribe attacks or anything sinister coming out of the moors.

The redwood forest crowds close around these places, massively overreaching their walls and their survival never seems certain. Further up the river we find simple forts with palisades, logs for a dock and a handful of bearded traders and trappers, half frozen and cracked with the cold, the calling of the penguins and with fear of giants.

Beyond the palisades the trapper tales talk of Ent and Eoten, children of those who challenged the gods in their pride and were brought low, and of the terrible Thyrs, who are as to the Eoten as the Wreaca are to us. Here the Castoroides live, fierce and wise, damning the shallow lakes and tributaries with cyclopean works. Even one Castoroides skin can make a hunter rich for a year but they are cunning and watchful and perhaps more dangerous to man than man is dangerous to them. Should the Castoroides choose to damn a tributary vital to one of the fort-townships, then open warfare will be declared between giant beaver and mankind, in the deep forest the powder speaks as armed groups of desperate mercenaries and adventurers raid the huge dams of the the gigantic beasts.

By this point no-one calls it the Perse, the river is the Kaldr, or simply 'the river'.

As the redwoods fade and shrink the Kaldr passes into tundra and steppe where the megafauna roam. Pony-riding stone tribes hunt Caribou, Mammoth and wooly Rhinoceros. On the river itself the shadowy penguins are challenged for dominance by fierce gigantic ducks and the crones of the low islands grow ever more watchful and mad.

At times the Caribou and Elk migrate across the Kalder en-masse, sometimes herded and driven by the Stone Men. Orca pods observe, working as teams to pull down the young or weak. Mammoth families cross carefully, youngest held paddling at the centre of the group while their parents flail at the circling predators, dashing the water into shattered diamonds and sometimes hurling entire Orca bodily out of the water onto the land where they are eaten by gigantic hawks.

Beyond the tundra lie the lake lands. Here the Kaldr zig-zags through old glacier paths in a series of deep black steep scree-sided lakes. The small sperm whales are plentiful here and breach and fountain, descending to the unknown depths to battle the gigantic krill.

Up on the scree side, or hidden in the murky valleys between the hills, by black tarns and moorlands, are the hearth halls of the fell metal tribes, those who have chosen to work metal and put their trust in iron instead of flesh. They sit brooding in their hidden follies, grim, honourable, bound in the blue-grey silver of the fells and wearing fire-bright orange gems torn from ancient tombs.

Those who are driven out from the fell metal tribes become the Wreaca, the Exiles, strange and terrible, transformed by the night, maddened and solitary, hating light and warmth. Always wandering. Always alone.

It is not always easy to tell a Wreaca, many still have the forms of the men they once were, the only way to be sure is that the true Wreaca cannot sing for they hate joy.

Beyond the lake land the Kaldr enters realms of legend, where no explorer from Jukai has gone to and returned. All that is known is from the tales of river traders, the dances of the Stone Men or the gnomic riddles of the fell metal tribes.

They say that the foothills and slopes of the Kaldr Hjarta mountains are home to a race of women, fierce and proud, who live without order, knowing no law, and without men, knowing no love, who do not fear the cold for they have replaced their souls with those of birds, who battle against the yak men and monsters who come from above the ice line and against the fell metal tribes, the Wreaca, Thyrs, the Megafauna, each other and whatever else they can find.

The barbarian women also trade in small amounts of cigarettes, opium and other strange goods, brought, they claim, through the warrens of ancient cities deep beneath the Kaldr Hjarta range. passing under the ice line in the still darkness, brought by smugglers from a distant land.

Above ice line nothing mortal can survive, for the cold freezes the very life in the blood. There vast glaciers of ice emerge like snakes, calving endlessly into the springs of the Cold Heart river, keeping it cool, sometimes holding devils like specks of black.

And somewhere far above the ice line is Dryhthelm, never seen by mortal eyes but reported to be a metropolis of caves carved into broken ice where the souls of the amoral dead sit like hermits, freezing, sleepless and unforgiving.

Watching over them are insectile devils made of living cold, and this is known by the devils found floating down the Kaldr, trapped in small glaciers of blue-sheened ice, whispering secrets and promising revenge.

The ice-frozen devils, or 'Orcneas' are only rarely encountered, perhaps once in several decades, and no-one can be certain how or why they come. The devils themselves claim that this is the punishment in Dryhthelm for mercy, that since devils cannot truly die, should one of them be found lax in cruelty, or doing less harm than they could, they are sentenced to the ice, frozen in a glacier and then slowly calved into the river, floating downstream, held fast by the enormous cold generated by their own unearthly flesh, until they reach the strange waters of Jukai and melt, freeing the devil inside to return to Dryhthelm in the winking of an eye.

This may be true, or partly true, but it is well known that the Orcneas lie, promising power and revenge to those slighted in return for souls, freezing the heart with their words, casting spells and teaching dark magic. For as long as the Orcneas passes down the river, all sane and intelligent peoples ban all contact with it, only the Wreaca, the desperate, the penguins the criminals and crones actively seek them out, silently attending in the night.

Table talk claims that one of the towers of Jukai has an Orcneas imprisoned, held secretly in a cool room so that the ruling families may question it.

And there is a postal service between Jukai and Hell. For kings have cold hearts and many of the mighty rulers who were once in the world are in Dryhthelm now, and their descendants wish to speak with them, to discover hidden knowledge and the names of assassins, to settle old debts and confirm the inheritance of nations.

A letter given to a factor in Jukai will be passed to a trusted Swamp Drunk, taken through the Melanic, handed to a relative in Vedet, given to a trader or a Stone Tribe man, then taken up the Kaldr, handed to a fell metal thane, taken by a hero to one of the barbarian women of the north, taken by them to the ice line and handed by strange alliance to a yak man or Thyrs and so brought to Dryhthelm. There, should the soul of the recipient still exist and be sane, and actively desire to reply, they will scratch words upon a slate in blood, this will be handed to a devil, then to a Thyrs or yak-man, and so-on, all the way back to Jukai.

The turnaround for a communication of this type is one year minimum, but five is more likely, and the replies are rarely what the sender wished to hear. A quater of Jukai is made up entirely of scholars, ambassadors, distaff aristocratic lines, the deposed lines of great empires and other interested parties, all waiting the long years for a reply to their letter to hell

Wednesday, 2 December 2015

The largest and the longest of the three rivers that find their end in Jukai Bay is the Or, or 'Civil River'

'Or' for its colour, which is gold, and 'Civil' for its Parliaments and laws.

An Empire once tamed the Or. No-one knows which one, the Or flows a long, long way, through canyon country, through the Forest of Rhodopsin with its purple leaves and prehistoric trees, through the Phyrrous Plains and great ravines thereof, through the stormlands where the trees burn every other year and the banks of the Or become sheets of red flame reflecting from its golden sheen, through the Catastrophic Woods, dense black tangles of hate-hardened wood where the grey leaves cover pin-dogs in their multitudes, still unexplored, and beyond that, somewhere it originates in the Radula Mountains, seat of the Snaegleborg, peerless, heaven-piercing ever-receding, centrepoint and only ever-stable point in this Uncertain World.

These lands held many Empires over time, the Phyrrous Plains are known for their ruins and the legends of the Cities of the Plains and how they warred against each other long ago. The Catastrophic Woods must hold the source of some terrible event, no-one knows what, the Canyon of the Sun is vast and the few who have survived its rapids claim they see ruined cave-cities carved into its rock like black eyes.

It was likely the Aurulent Empire that tamed and organised the Or, it seems like the kind of thing they would do and it's certainly the ghosts of their tax inspectors that loom out of the water after mass lightning-strikes, riding huge pale crabs, carrying silver lanterns and muttering to themselves in Ancient Aurulent.

For the river has order. It floods and recedes on time each year, every year, accurate to the day, expanding and contracting to exactly the same place each time. Its savage whirlpools are more regular than clocks, more fixed than stars, its deadly sandbanks that suck down ships are all charted, as firmly set as foundations, they never move. The Or is predictable, at least, in those ways in which a river is usually not.

The fauna of the Or are organised. The river has no non-social species. Even animals that would normally be non-social, or barely-social, like Alligators or snails, either live in groups or congregate regularly.

Each group has a hierarchy, each hierarchy has a head, each species has a parliament with local sub-councils. Somewhere there is a Senate of the Or where the leaders of each species meet to somehow agree the laws of the Or, somewhere, perhaps, there is a King.

The animals of the river are not necessarily any more intelligent than their equivalents elsewhere and they do not necessarily do anything fundamentally different than their equivalents elsewhere. The small brass crabs like coins still behave generally like crabs, the black eels with golden eyes still drift like policemen outside bars, the dark blue manatees still chew the golden kelp, the saw-mouth dolphins still hunt with ultrasonic whines. The purpose of an animal is to be an animal, but in the Or, this happens on schedule and the schedule is fair. The water snails walk in lines, the fish move in formation, predators chase their expected prey who flee in the expected way, until an hour turns or a chase enters a protected zone, in which case the chrome gharials simply turn away from the escaping fish.

When animals congregate they do not 'speak' in any comprehensible way. They are certainly doing something but exactly what or how is hard to tell. The heads of the parliaments may be intelligent, or not, the 'kings' of each species may be intelligent, storybooks certainly say they are, or they may not. No-one has ever confirmed encountering one.

Sometimes animals are found executed, forced out of the water to suffocate in air, or be eaten by land animals, or by man. The places of execution are well known and small villages of human beings sometimes make their livelihoods by acting as terrestrial leviathans who consume the criminals of the Civil River. The fishermen of the Or are few, and very very careful. They say the river always takes back what it gives. Exactly.

Golden fish are their officials. These slim, rapid bright fish are sometimes seen darting back and forth in the Or, to no particular pattern. They are never predated on by river-fauna, or even by man, local tribes and groupings refuse to touch them.

The colour of the Or, a golden sheen that makes it look like a necklace dropped on the velvet horizon when seen from the towers of Jukai at dawn, comes from some unknown impurity which seeps into the river somewhere above the stormlands and becomes more and more prevalent as it works its way towards Jukai. (It's not gold, curious alchemists have made exhaustive tests to look for that.) No-one can quite be certain what it is but several of the animals of the Or have a somewhat-metallic sheen to them of different kinds. Zenithal suggested what she called "a kind of anti-gargantuan organism, as indiscernible as the sky yet upon the opposite scale of size.

The water of the Or is slightly ferric and it summons lightning. Any storm passing over the river which might possibly discharge a bolt will do so directly into the water rather than onto the tops of nearby trees or mountains. When a large storm passes, especially in the stormlands upstream, tens, or even hundreds of lightning bolts can crash down into the Or, making it look like a wall of bright light stretching across the plains, upholding the dark pillars of the sky. Ships that trade on or explore the river carry iron lightning rods on top of masts to deflect likely strikes.

Most of the creatures of the Or seem to have found some way to survive these storms. But, after a significant storm an unusual event takes place. Should it be night and should the air still be heavy with static, huge pale crabs will idle out of the river and walk about on land. These crabs, (the size of ponies) are ridden by the ghosts of tax inspectors of the Aurulent Empire. (They wear the three-buttoned hats and signifying robes of those bureaucrats.) These ghosts then wander about on their crabs holding silver lanterns which give no visible light but which seem to define the limits of their sight, muttering ancient aurlulent, peering at things and clicking the mother-of-peal beads of their abacuses back and forth, they are followed in the darkness by a train of black electrified eels with golden eyes who move after them like a shadow, and of which they seem utterly unaware.

Veins of the Earth Hardcopy

‘They've knocked it out of the park. Hit it for six. Got it in an arm bar in the first round. Pick your sport, pick your metaphor, doesn’t matter: the point is clear – so soon after _Fire on the Velvet Horizon_, Patrick Stuart and Scrap Princess prove once again that something as unlikely as an RPG supplement can be art, of the most impressive kind. An amazing work.’ - China Mieville

FIRE ON THE VELVET HORIZON

"Superpositioning with strange panache, Velvet Horizon is an (outstanding) indie role-playing-game supplement, and an (outstanding) example of experimental quasi-/meta-/sur-/kata-fiction. Also a work of art. Easily one of my standout books of 2015." - China Mieville" Maybe my favourite thing we've made. If you like Scraps work click the pic.